38: Simulated Worlds - This American Life
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00:00 00:00 Transcript Share This American Life Life Partners How to Listen Episodes Recommended About Overview Staff Announcements Fellowships Jobs Music Make Radio On The Road FAQ Submissions Merch Contact Us Our Other Shows Merch Follow Us Life Partners Subscribe to our newsletter Full episode Toggle Audio and Transcript Sync Transcript | Episode #38 | March 5, 2004 38: Simulated Worlds Note: This American Life is produced for the ear and designed to be heard.
00:00 00:00 文字记录 分享此 美国生活 生活伙伴 如何收听 剧集 推荐 关于 概述 员工公告 奖学金 工作 音乐 在路上制作电台 常见问题解答 提交 商品 联系我们 我们的其他节目 商品 关注我们 生活伙伴 订阅我们的时事通讯 整集 切换音频和文字记录同步 文字记录 | 内容第 38 集 | 2004 年 3 月 5 日 38：模拟世界 注意：《美国生活》是为耳朵而制作的，旨在让人们听到。
If you are able, we strongly encourage you to listen to the audio, which includes emotion and emphasis that's not on the page.
如果可以的话，我们强烈建议您收听音频，其中包括页面上没有的情感和重点。
Transcripts are generated using a combination of speech recognition software and human transcribers, and may contain errors.
文字记录是使用语音识别软件和人工转录员结合生成的，可能包含错误。
Please check the corresponding audio before quoting in print.
请在印刷版引用前检查相应的音频。
Prologue: Prologue Man 1 From PRI, Public Radio International.
序言：序言人 1 来自国际公共广播电台 PRI。
Radio International.
国际广播电台。
Man 3 --Radio International.
男人3——国际广播电台。
One more time.
再一次。
Ira Glass It's not enough, some guys say, to have the right boots and the right 19th century authenticated gun and the right uniform made from the right fabric with the right buttons and no zippers, of course, because they had no zippers back during the Civil War.
有些人说，有合适的靴子、合适的 19 世纪真枪、合适的制服、合适的面料、合适的纽扣、没有拉链，当然，这是不够的，因为他们在内战期间没有拉链。
No, it is not enough.
不，这还不够。
But what is enough?
但什么才算足够呢？
Some guys come to Civil War reenactments and bring sodas and coolers and Band-Aids.
有些人带着苏打水、冷却器和创可贴来观看内战重演。
There are guys who wear wristwatches and contact lenses.
有些人戴着手表和隐形眼镜。
The thing about recreating the Civil War is that everyone draws the line somewhere else.
重现内战的问题在于，每个人都在其他地方划定界限。
It's better if I walk in than if I drive in.
步行进去比开车进去要好。
I don't wear no underwear.
我不穿内衣。
Reenactor 3 I don't carry pears or bananas or anything like that.
Reenactor 3 我不带梨或香蕉之类的东西。
Where are they going to get bananas during the Civil War?
内战期间他们去哪里买香蕉？
I eat raw meat.
我吃生肉。
Reenactor 5 We have people here who believe that their impression's more authentic than somebody else's because they have fleas.
Reenactor 5 我们这里有些人相信他们的印象比其他人的更真实，因为他们有跳蚤。
A Chinese man came to me and wanted to join the unit.
一个中国人来找我，想加入这个单位。
There were no Chinese in the 100th.
第100名中没有中国人。
My unit, I would prefer to have just plain old Caucasian males.
我的单位，我更喜欢只有普通的老年白人男性。
This tape is from a documentary by Jessica Yu called Men of Reenaction.
这盘磁带来自杰西卡·余（Jessica Yu）的纪录片《Men of Reenaction》。
And she found out that when men stage Civil War reenactments, sure, there is some tension between the Union and the Confederate forces.
她发现，当人们重演内战时，联邦和南部邦联军队之间确实存在一些紧张关系。
But the real battle is the one within the ranks over who is properly authentic and who is not.
但真正的战斗是队伍内部关于谁是真正真实、谁不是的争论。
And like any conflict that's big enough and important enough to people, this conflict has spawned its own vocabulary.
就像任何对人们来说足够大、足够重要的冲突一样，这场冲突也产生了自己的词汇。
The guys who do these reenactments call themselves either hard-cores or farbs.
进行这些重演的人称自己为硬核或法布。
You can guess what the hard-cores are.
你可以猜到硬核是什么。
Those are the guys who really want to be authentic.
这些人是真正想要真实的人。
Farbs, well, farb is short for far be it from me, as in "far be it from me to judge what that person is doing right over there."
Farbs，好吧，farb 是 far be it from me 的缩写，就像“我根本无法判断那个人在那儿做什么”。
A farb?
法布？
A farb is someone who is not as authentic as you think of yourself.
法布是指那些不像你想象的那样真实的人。
That's the easiest way I put it.
这是我最简单的说法。
A farb is anyone who would wear tennis shoes or would wear modern eye glasses or would wear cotton instead of wool.
法布是指任何愿意穿网球鞋、戴现代眼镜或穿棉质衣服而不是羊毛衣服的人。
When I see someone in line and he's got modern glasses, that takes away from my event.
当我看到有人排队并且他戴着现代眼镜时，我的活动就会消失。
It might not affect his event, but it takes away from mine.
这可能不会影响他的活动，但它会影响我的活动。
I'm in this for fun.
我参与其中是为了好玩。
I'm not really in the Army.
我并不是真的在军队。
And so if I want to have an ice chest hidden in a wooden box that only I know is there, then I will do that.
因此，如果我想在一个只有我知道的木箱里藏一个冰柜，那么我就会这么做。
I draw the line at what the public sees and perceives.
我根据公众的看法和看法划定界限。
You know, it is hard to imagine people in other countries-- English and French citizens reenacting the Norman conquest or North and South Vietnamese recreating their bloody civil war.
你知道，很难想象其他国家的人们——英国和法国公民重演诺曼征服，或者北越和南越重演他们的血腥内战。
The question here is why do Americans devote so much emotional energy to restaging the past?
这里的问题是，为什么美国人投入如此多的情感能量来重演过去？
Well, from WBEZ Chicago, it's This American Life .
嗯，来自 WBEZ 芝加哥，这是《This American Life》。
I'm Ira Glass.
我是艾拉·格拉斯。
Each week, of course, we choose a theme, and invite various writers, performers, documentary producers to take a whack at that theme.
当然，我们每周都会选择一个主题，并邀请不同的作家、表演者、纪录片制片人来探讨这个主题。
Our program today, Simulated Worlds.
我们今天的节目是模拟世界。
We visit wax museums, simulated coal mines, fake ethnic restaurants, an ersatz Medieval castle, and other recreated worlds that thrive all across our great land.
我们参观了蜡像博物馆、模拟煤矿、假冒的民族餐厅、仿造的中世纪城堡，以及其他在我们伟大的土地上蓬勃发展的重建世界。
The Italian writer Umberto Eco wrote an essay a few years ago in which he argued that this urge to create miniature simulated worlds is a particularly American impulse, a significant American aesthetic and one that is not talked about very often.
意大利作家翁贝托·艾柯几年前写了一篇文章，他在文中指出，这种创造微型模拟世界的冲动是一种特殊的美国冲动，一种重要的美国美学，但并不经常被谈论。
Eco traveled the United States from Disneyland to Las Vegas to re-creations of old New York in museums.
艾柯走遍了美国，从迪士尼乐园到拉斯维加斯，在博物馆里重现了旧纽约的风采。
After a visit to the LBJ Library in Austin, Texas, where he saw a full, life-size re-creation of the Oval Office using the same materials as the original, Eco wrote, "Is this the taste of America?
在参观了德克萨斯州奥斯汀的林登·约翰逊图书馆后，他看到了使用与原件相同的材料按真人大小重建的椭圆形办公室，艾柯写道：“这是美国的品味吗？
Certainly it is not the taste of Frank Lloyd Wright, of the Seagram Building, of the skyscrapers of Mies van der Rohe.
当然，这不是弗兰克·劳埃德·赖特、西格拉姆大厦、密斯·凡德罗的摩天大楼的品味。
But the American imagination demands the real thing, and to attain it must fabricate the absolute fake."
但美国人的想象力需要真实的东西，而要实现它就必须制造绝对的假货。”
On today's program, Act One, a quick national tour.
在今天的节目中，第一幕是一次快速的全国巡演。
Act Two, writer Jack Hitt on simulated dinosaur worlds.
第二幕，作家杰克·希特讲述模拟恐龙世界。
Act Three, we get Medieval on you.
第三幕，我们为您呈现中世纪风格。
Well, we take a Medieval scholar from the University of Chicago-- a guy with an actual British accent, so you can tell he's for real-- with us to Medieval Times, a suburban castle cum restaurant cum jousting arena.
好吧，我们带了一位来自芝加哥大学的中世纪学者——一个有着真正的英国口音的人，所以你可以看出他是真的——和我们一起去了中世纪时代，一个郊区的城堡兼餐厅兼比武场。
Act Four, how Morning Edition fakes reality every day on the radio and why we fall for it.
第四幕，早间版如何每天在广播中伪造现实以及我们为何上当。
Stay with us.
留在我们身边。
Now, back to Jesus.
现在，回到耶稣。
The following description is alleged to be derived from an ancient manuscript sent by Publius Lentulus, president of Judea, to the Senate of Rome.
以下描述据称取自朱迪亚总统普布利乌斯·伦图卢斯 (Publius Lentulus) 寄给罗马元老院的一份古代手稿。
It reads, "There lives at this time in Judea a man of singular virtue whose name is Jesus."
上面写着：“此时在犹太居住着一位具有非凡美德的人，他的名字叫耶稣。”
Where are we?
我们在哪里？
A wax museum in San Francisco in front of 13 life-size wax statues recreating Leonardo da Vinci's painting, The Last Supper .
旧金山的一家蜡像馆，前有 13 座真人大小的蜡像，再现了达芬奇的画作《最后的晚餐》。
In this act of our program, rather than use the Michelin guide to tour America, we're using Umberto Eco's essay, "Travels in Hyperreality." And in researching that essay, Eco visited no fewer than seven-- that's right, seven-- wax versions of The Last Supper between San Francisco and Los Angeles.
在我们计划的这一行为中，我们没有使用米其林指南来游览美国，而是使用翁贝托·艾柯的文章“超现实旅行”。在研究这篇文章的过程中，艾柯在旧金山和洛杉矶之间参观了至少七个——没错，七个——蜡像版的《最后的晚餐》。
Eco was fascinated with American wax museums, partly because he said that unlike wax museum in other countries, he says, "American wax museums try to reconstruct entire worlds with a kind of maniacal, chilling attention to detail." This museum, for example, runs 85 different soundtracks in its different rooms.
艾柯对美国蜡像馆很着迷，部分原因是他说与其他国家的蜡像馆不同，“美国蜡像馆试图以一种疯狂、令人毛骨悚然的对细节的关注来重建整个世界。”例如，该博物馆在不同的房间内播放 85 首不同的配乐。
There are scenes of wax figures bathing waist deep in real pools of water.
有蜡像在齐腰深的真实水池中沐浴的场景。
There's a full-scale reconstruction of King Tut's tomb.
图坦卡蒙陵墓进行了全面重建。
There are three-dimensional life-size wax versions of a dozen of the world's most famous paintings.
这里有十几幅世界上最著名的画作的三维真人大小的蜡像版本。
A typical exhibit in the World Religion section of the museum, Moses receiving the Ten Commandments on a rocky slope, eerie red light with flashes of white lightning.
博物馆世界宗教区的一个典型展览，摩西在岩石斜坡上接受十诫，诡异的红光中夹杂着白色的闪电。
[THUNDER] Wax Museum Recording I am the Lord your God who brought you out of the land of Egypt, out of the house of bondage.
[雷声] 蜡像馆录音 我是耶和华你的神，将你从埃及地、为奴之家领出来。
You shall have no other god before me."
除了我之外，你不可有别的神。”
Eco had a name for these over-the-top production values.
这些过高的生产价值被称为“生态”。
He called it "reconstructive neurosis."
他称之为“重建性神经症”。
My name is Rodney Fong.
我叫罗德尼·方。
I'm actually the grandson of the gentleman who opened this museum in 1963.
我实际上是 1963 年开设这座博物馆的那位先生的孙子。
That's my grandfather Thomas Fong.
那是我的祖父托马斯·方。
Rodney's family owns the largest wax museum in North America, which is in Los Angeles, and the second largest, which is this museum at Fisherman's Wharf.
罗德尼家族拥有北美最大的蜡像馆，位于洛杉矶，第二大蜡像馆是位于渔人码头的这座博物馆。
His family owned three wax museums visited by Umberto Eco when Umberto Eco wrote his essay.
当翁贝托·艾柯撰写论文时，他的家族拥有三个蜡像馆，翁贝托·艾柯参观过。
Rodney himself is an easygoing, friendly sort who grew up working in the museum's shop after school, now 30 years old and the general manager of the place.
罗德尼本人是一个随和、友善的人，放学后在博物馆的商店里工作长大，现在 30 岁，是该店的总经理。
And you might think that growing up in a wax museum would be kind of a fun thing for a kid.
您可能会认为在蜡像馆长大对孩子来说是一件有趣的事情。
But he said that was not his experience.
但他说那不是他的经历。
Actually, I was terrified to go into the museum because my father always used the museum as a threat.
事实上，我很害怕进入博物馆，因为我父亲总是把博物馆当作一种威胁。
If we were not good, we'd have to spend a night in the Chamber of Horrors.
如果我们做得不好，我们就得在恐怖室里过夜。
So actually to this day, I still get the heebie jeebies walking through by myself.
所以实际上直到今天，我仍然会独自走过。
Rodney tells me we have to rush through the museum because there is so much to see.
罗德尼告诉我，我们必须匆匆穿过博物馆，因为有太多可看的东西。
Over 300 statues, historical figures like Neil Armstrong and Geronimo, right next to fictional characters like Don Quixote and Alice in Wonderland.
超过 300 座雕像，包括尼尔·阿姆斯特朗和杰罗尼莫等历史人物，以及唐吉诃德和爱丽丝梦游仙境等虚构人物。
The juxtaposition is actually kind of dizzying.
这种并置实际上有点令人眼花缭乱。
And Umberto Eco talks about this odd feeling you get in a place like this as "a spatial, temporal haze, where centuries get confused." One room, for example, depicts a dozen people at an outdoor cafe.
翁贝托·艾柯 (Umberto Eco) 谈到，在这样的地方你会有一种奇怪的感觉，就像“空间、时间上的阴霾，几个世纪都在这里变得混乱”。例如，一个房间描绘了一家露天咖啡馆里的十几个人。
Mark Twain-- Ira Glass Smoking a pipe, looking very stern.
马克·吐温——艾拉·格拉斯 抽着烟斗，表情严肃。
In a leather jacket.
穿着皮夹克。
Rodney Fong Whistler, Beethoven, Toulouse-Lautrec.
罗德尼·方·惠斯勒、贝多芬、图卢兹-劳特累克。
Who else is down here?
下面还有谁？
Hemingway's off by himself.
海明威一个人走了。
And Mozart, Beethoven, and Whistler are sitting at a table together.
莫扎特、贝多芬和惠斯勒坐在一张桌子旁。
And there's a can of Campbell's tomato soup on there.
那里有一罐坎贝尔番茄汤。
And you get the feeling that Andy Warhol reached over--
你会感觉到安迪·沃霍尔伸手过去——
Right.
对。
And put that on there.
然后把它放在那里。
Ira Glass Umberto Eco writes, "When you see Tom Sawyer immediately after Mozart, or you enter the cave of the Planet of the Apes after having just witnessed the Sermon on the Mount with Jesus and the Apostles, the logical distinction between real world and possible worlds has been definitively undermined."
艾拉·格拉斯·翁贝托·艾柯写道：“当你在莫扎特之后立即看到《汤姆·索亚历险记》，或者当你刚刚目睹了耶稣和使徒们的登山宝训后进入了《猩球崛起》的洞穴，现实世界和可能世界之间的逻辑区别就被彻底削弱了。”
There is something so strange about combining figures from different historical moments together.
将不同历史时刻的人物组合在一起是很奇怪的。
Really, part of that is because of space.
确实，部分原因是因为空间。
I mean, we keep adding figures year after year.
我的意思是，我们年复一年地不断增加数字。
We have to start categorizing them and putting them together.
我们必须开始对它们进行分类并将它们放在一起。
Eco says that one reason Americans have an urge to build elaborate wax museums, to reenact the Civil War, to construct full-size, fake Colonial towns, is that we just don't have as strong a sense of history as Europeans have.
埃科说，美国人渴望建造精致的蜡像博物馆、重现内战、建造全尺寸的假殖民城镇，原因之一是我们没有欧洲人那么强烈的历史感。
And so it's like we're seeking to ground ourselves in some vivid sense of history.
因此，我们就像是在寻求让自己扎根于某种生动的历史感之中。
And these are the tools that we use.
这些是我们使用的工具。
Rodney and I turn a corner, and we see this combination of historical figures.
罗德尼和我拐过一个拐角，我们看到了历史人物的组合。
Albert Einstein, Sigmund Freud, Charles Darwin, Galileo, and Bill Gates, in a sweater, holding a copy of Windows 95.
阿尔伯特·爱因斯坦、西格蒙德·弗洛伊德、查尔斯·达尔文、伽利略和比尔·盖茨穿着毛衣，手里拿着 Windows 95 的副本。
That's just down the hallway from a room called "Wickedest Ladies," where the plaques read, "Jezebel, biblical siren," "Salome, biblical siren," "Lucrezia Borgia, siren of the Renaissance," and then there's Mata Hari, who, for some reason, is a dead ringer-- I'm not kidding-- for Barbra Streisand.
沿着走廊走下去，有一间名为“最邪恶的女士”的房间，那里的牌匾上写着“耶洗别，圣经中的海妖”，“莎乐美，圣经中的海妖”，“卢克雷齐亚·波吉亚，文艺复兴时期的海妖”，还有玛塔·哈里，出于某种原因，她简直就是芭芭拉·史翠珊——我不是开玩笑——的。
There's also a room with figures that are very mysteriously grouped.
还有一个房间，里面的人物非常神秘地组合在一起。
They are Boy George, Lawrence Welk, Danny Thomas, John Travolta.
他们是乔治男孩、劳伦斯·韦尔克、丹尼·托马斯、约翰·特拉沃尔塔。
What is the theme of this room, OK?
这个房间的主题是什么？
Performers you suspect are gay?
您怀疑表演者是同性恋？
Scientologists?
山达基教徒？
Has-beens?
过去？
Rodney has no answers.
罗德尼没有答案。
He takes me to stand in front of a room with just one lone figure, wielding a gun.
他带我站在一个房间前，只有一个人拿着枪。
Chuck Norris.
查克·诺里斯。
Now, why is it that Chuck Norris gets his own room and Nelson Mandela has to share a room with four other people?
现在，为什么查克·诺里斯有自己的房间，而纳尔逊·曼德拉必须与另外四个人共用一个房间？
If we had other action figures, they'd be in this room also.
如果我们有其他人偶，他们也会在这个房间里。
But for now, Chuck Norris not only gets his own room, he gets a full movie set.
但现在，查克·诺里斯不仅拥有自己的房间，还拥有完整的电影布景。
That's what it's like.
就是这样。
There's a beach with a blown-up car and pieces all around him plus that semiautomatic weapon.
海滩上有一辆被炸毁的汽车，他周围都是碎片，还有那把半自动武器。
The point of all this obsessively reconstructed detail, Umberto Eco says, is partly to reassure people that no expense has been spared.
翁贝托·埃科说，所有这些痴迷地重建细节的目的部分是为了让人们放心，他们不遗余力。
"This," he says, "is what Americans want.
“这，”他说，“就是美国人想要的。
An insane abundance, like at those supposedly classy American restaurants, all darkness and wood paneling, dotted with soft red lights that offer the customer, as evidence of his own affluence, steaks four inches thick and lobster and baked potato and sour cream and melted butter and grilled tomato and horseradish sauce, so that the customer will have more and more and can wish nothing further."
疯狂的丰盛，就像那些被认为是优雅的美国餐馆一样，全是黑暗，木镶板点缀着柔和的红灯，为顾客提供四英寸厚的牛排、龙虾、烤土豆、酸奶油、融化的黄油、烤番茄和辣根酱，这样顾客就会吃得越来越多，再也别无所求。”
The logical outcome of this desire is places like the Madonna Inn, a hotel in California that Eco describes this way.
这种愿望的合乎逻辑的结果是像麦当娜旅馆这样的地方，艾柯这样描述了加利福尼亚州的一家酒店。
"The poor words with which human natural speech is provided can not suffice to describe the Madonna Inn.
“人类自然语言所提供的蹩脚词语不足以描述麦当娜旅馆。
Let us say that Albert Speer, while leafing through a book on Goudy swallowed an over-generous dose of LSD, and began to build a nuptial catacomb for Liza Minnelli.
假设阿尔伯特·施佩尔在翻阅一本关于古迪的书时吞下了过量的迷幻药，并开始为丽莎·明内利建造一座婚礼地下墓穴。
But that doesn't give you an idea.
但这并不能给你一个想法。
Let's say Arcimboldi builds the Sagrada Familia for Dolly Parton.
假设阿尔钦博迪为多莉·帕顿建造了圣家族教堂。
Or Carmen Miranda designs a Tiffany locale for the Jolly Hotel chain.
或者卡门·米兰达 (Carmen Miranda) 为 Jolly Hotel 连锁酒店设计蒂芙尼 (Tiffany) 场地。
Calvino's Invisible Cities described by Judith Krantz and executed by Leonor Fini for the plush-doll industry.
卡尔维诺的《看不见的城市》由朱迪思·克兰茨 (Judith Krantz) 描述，莱昂诺·菲尼 (Leonor Fini) 为毛绒娃娃行业执行。
Chopin's Sonata in B flat minor sung by Perry Como in an arrangement by Liberace accompanied by the Marine Band No, that still isn't right.
肖邦的降 B 小调奏鸣曲，佩里·科莫 (Perry Como) 演唱，利伯拉斯 (Liberace) 改编，海军陆战队乐队 (Marine Band) 伴奏 不，这仍然不对。
"Let's try talking about the restrooms.
“让我们试着谈谈洗手间的事吧。
They are an immense underground cavern, something like Altamira and Luray, with Byzantine columns supporting plaster baroque cherubs.
它们是一个巨大的地下洞穴，类似于阿尔塔米拉和卢雷，拜占庭式的柱子支撑着巴洛克风格的石膏天使。
The basins are big imitation mother-of-pearl shells.
盆子是大的仿珍珠母贝。
The urinal is a fireplace carved from the rock, but when the jet of urine-- sorry, but I do have to explain here-- touches the bottom, water comes down from the wall of the hood in a flushing cascade, something like the caves of the Planet Mongo.
小便池是一个用岩石雕刻而成的壁炉，但是当尿液喷射——抱歉，但我必须在这里解释一下——接触到底部时，水就会从抽油烟机的壁上以瀑布的形式流下来，就像蒙戈星球上的洞穴一样。
"Then there are the bedrooms, about 200 of them, each with a different theme.
“然后是卧室，大约有 200 间，每间都有不同的主题。
For a reasonable price-- which includes an enormous bed, king or queen size if you are on your honeymoon-- you can have the Prehistoric Room, all cavern and stalactites, the Safari Room, zebra walls and bed shaped like a Bantu idol, the Kona Rock Room, Hawaiian, the California Poppy, the Old-Fashioned Honeymoon, the Irish Hills, the William Tell, the Tall and Short, for mates of different lengths, with the bed in an irregular polygon form.
以合理的价格（如果您度蜜月，还包括一张特大号床或大号床），您可以入住史前房、所有洞穴和钟乳石、狩猎房、斑马墙和班图神像形状的床、科纳岩石房、夏威夷房、加州罂粟房、老式蜜月房、爱尔兰山房、威廉泰尔房、高矮房，适合不同身长的伴侣，床呈不规则多边形形状。
There's the Imperial Family, there's the Old Mill.
这里有皇室，那里有老磨坊。
"The Madonna Inn is the poor man's Hearst castle.
“麦当娜旅馆是穷人的赫斯特城堡。
It has no artistic or philological pretensions.
它没有艺术或语言学上的自负。
It appeals to the savage taste for the amazing, the overstuffed, and the absolute sumptuous.
它迎合了野蛮人对令人惊奇、丰富和绝对奢华的品味。
At a low price, it says to its visitors, 'You can have the incredible, just like a millionaire.'"
它以低廉的价格对游客说：“你可以拥有令人难以置信的东西，就像百万富翁一样。”
[COAL MINE SOUNDS] OK, OK, OK.
[煤矿的声音] 好，好，好。
We've changed scene.
我们换了场景。
Maybe you've figured that out.
也许你已经明白了。
Now we're in a coal mine, a fake coal mine.
现在我们在一个煤矿里，一个假煤矿。
In fact, we're faking being in a fake coal mine.
事实上，我们假装身处一个假煤矿里。
That's just how fake this is.
这就是多么的假。
I'm just sitting in a radio studio playing you a tape.
我只是坐在广播室里给你放一盘磁带。
You know, simulated worlds actually are so abundant, within a half-hour drive of where I sit right now here in Chicago, where we broadcast our radio show from, right now, I can jump in the car and visit-- OK, I'm just going to list quickly-- a re-creation of an Al Capone speakeasy, a Medieval castle, a 3-D IMAX movie theater which attempts to recreate three-dimensionality, a store called Nike Town, which essentially puts you into the world of a Nike commercial.
你知道，模拟世界实际上非常丰富，距离我现在在芝加哥坐的地方半小时车程内，我们在那里播放广播节目，现在，我可以跳进车里参观——好吧，我只是快速列出——重建的阿尔·卡彭地下酒吧、一座中世纪城堡、一个试图重建三维的 3-D IMAX 电影院、一家名为 Nike Town 的商店，它本质上把你带入了耐克广告的世界。
And at the Museum of Science and Industry, a fake human heart big enough to walk through, an actual 727 airplane, an entire airplane inside the museum, a real German U-boat captured during World War II, and, built directly into the museum, a fake coal mine.
在科学与工业博物馆，有一颗大得可以穿过的假人类心脏、一架真正的 727 飞机、博物馆内的整架飞机、一艘在二战期间缴获的真正的德国 U 型潜艇，以及直接建在博物馆内的一个假煤矿。
Now, the first bell will indicate that we are arriving, and the second bell will indicate that we have arrived.
现在，第一个铃声将表明我们即将到达，第二个铃声将表明我们已到达。
Please feel free to touch the coal.
请随意触摸煤炭。
It has been laminated, therefore it isn't harmful to you or your clothing.
它经过层压处理，因此不会对您或您的衣服造成伤害。
A couple years ago, historian Frances FitzGerald wrote this book called Cities on a Hill , where she argued that one of the defining qualities of America is the number of people here who try to shed the past, completely shed it, start over tabula rasa, and create a new way of life for themselves, in new communities unlike communities that had existed before.
几年前，历史学家弗朗西斯·菲茨杰拉德（Frances FitzGerald）写了一本名为《山上的城市》的书，她在书中指出，美国的一个决定性品质是这里有多少人试图摆脱过去，彻底摆脱过去，从头开始，在与以前存在的社区不同的新社区中为自己创造一种新的生活方式。
From the survivalists in Montana to the gay community in San Francisco to the Mormons in Utah.
从蒙大拿州的生存主义者到旧金山的同性恋社区再到犹他州的摩门教徒。
Looked at in this way, creating new worlds is what this country is.
从这个角度来看，创造新世界就是这个国家。
It is what we do.
这就是我们所做的。
And so when we create these little small, simulated worlds for recreation, wax museums and Medieval castles and technicolor movies, for that matter, we're just doing in miniature, for recreation, what we do for real, as a whole, in our culture.
因此，当我们为娱乐、蜡像博物馆、中世纪城堡和彩色电影创造这些小小的、模拟的世界时，就这一点而言，我们只是为了娱乐而做的缩影，我们在我们的文化中作为一个整体，为真实所做的事情。
Act Two, Dinosaur Exhibit.
第二幕，恐龙展览。
Well, all this hour, we're talking about simulated realities, simulated worlds, wax museums, Civil War reenactments, fake coal mines.
好吧，这一个小时，我们都在谈论模拟现实、模拟世界、蜡像博物馆、内战重演、假煤矿。
You know, one thing you can say about all those worlds is that anybody can tell that they're fake.
你知道，关于所有这些世界，你可以说的一件事是，任何人都可以看出它们是假的。
When you go to a wax museum, when you go to the Luxor Hotel in Las Vegas, this huge pyramid with a full-scale replica of the Sphinx out in front, you do not stand there and wonder, "Did I wake up this morning in Cairo?" You know where you are.
当你去蜡像馆，当你去拉斯维加斯的卢克索酒店，这座巨大的金字塔和狮身人面像的全尺寸复制品就在前面，你不会站在那里想知道，“我今天早上在开罗醒来吗？”你知道你在哪里。
The world of dinosaurs presents a different problem, and that's because of the veneer of science.
恐龙世界提出了一个不同的问题，这是因为科学的外表。
When you go to a natural history museum and you see a dinosaur exhibit, the impression that you get is that what you're seeing is not conjecture, not theory, but settled, scientific fact.
当你去自然历史博物馆看到恐龙展览时，你得到的印象是你所看到的不是猜想，不是理论，而是确定的科学事实。
But as our contributing editor Jack Hitt recently discovered, the world of the dinosaurs turns out to be a man-made world made up of a pile of bones.
但正如我们的特约编辑杰克·希特最近发现的那样，恐龙世界原来是一个由一堆骨头组成的人造世界。
And like most other things that are man-made, our picture of the dinosaurs has been flawed and imperfect.
和大多数其他人造物体一样，我们对恐龙的想象也是有缺陷和不完美的。
And it changes.
它发生了变化。
Not long ago, I attended a lecture by dinosaur revisionist Jack Horner.
不久前，我听了恐龙修正主义者杰克·霍纳的讲座。
He's a notorious troublemaker, a hippie without a formal degree who turns dinosaur thinking upside-down.
他是一个臭名昭著的麻烦制造者，一个没有正式学位的嬉皮士，颠覆了恐龙的思维。
He's a tall, skinny thing in jeans and boots, tangled gray hair and a generous beard.
他个子又高又瘦，穿着牛仔裤和靴子，灰白的头发乱糟糟的，留着大胡子。
Horner's speech was entitled, "Would Tyrannosaurus Rex Eat a Lawyer?" The reference, of course, is that scene in Jurassic Park when the lawyer gets yanked right off the john by an enraged T.
霍纳的演讲题目是“霸王龙会吃掉律师吗？”当然，参考的是《侏罗纪公园》中律师被愤怒的 T 先生从厕所里拽下来的场景。
rex.
雷克斯。
Naturally, we all thought the answer to his semi-rhetorical question was, sure.
自然地，我们都认为他的半反问问题的答案是肯定的。
Of course.
当然。
T.
T。
rex could eat a lawyer anytime, anyplace.
霸王龙可以随时随地吃掉律师。
But Horner was there to prove that T.
但霍纳的存在是为了证明 T.
rex could only have eaten the lawyer if the lawyer were already dead.
如果律师已经死了，雷克斯就只能吃掉律师。
T.
T。
rex, he said, was not a mighty, roaring predator, not king of the dinosaurs, not Godzilla, but a slow, putzy scavenger who wandered from carcass to carcass half-blind, snacking on rotting scraps.
他说，霸王龙不是一种强大的、咆哮的掠食者，不是恐龙之王，也不是哥斯拉，而是一种缓慢而愚蠢的食腐动物，半盲地在尸体之间徘徊，以腐烂的残渣为食。
No one in the room quite wanted to believe it.
房间里没有人愿意相信这一点。
Little kids just sat silent in incredulous awe, as if he had said that sharks only ate plankton.
小孩子们只是难以置信地敬畏地静静地坐着，就好像他说过鲨鱼只吃浮游生物一样。
But Horner piled on the logic.
但霍纳又强调了逻辑。
Typically, predators, he said, like lions and tigers, have powerful front arms to hold their catch while they rip out the jugular.
他说，通常情况下，掠食者，比如狮子和老虎，都有强大的前臂来抓住猎物，同时撕开颈静脉。
T.
T。
rex has no arms, really.
霸王龙确实没有手臂。
Just those dainty claw-ettes, comparable to having a few fingers growing out of your shoulders.
就是那些精致的爪子，就像从肩膀上长出几根手指一样。
Interesting, but not exactly threatening.
有趣，但并不完全具有威胁性。
T.
T。
rex also had big, muscular legs, usually interpreted to mean he could run fast.
霸王龙还拥有大而肌肉发达的腿，通常被解释为意味着他可以跑得快。
But Horner asked, how swift are weight lifters?
但霍纳问道，举重运动员的速度有多快？
In nature, sprinters tend to have long calves and short thighs for leverage, like ostriches.
在自然界中，短跑运动员往往有长的小腿和短的大腿来发挥杠杆作用，就像鸵鸟一样。
Animals with stout, muscular legs tend to be walkers, typically slow, usually not too coordinated.
腿部粗壮、肌肉发达的动物往往是步行者，通常速度缓慢，而且通常不太协调。
Horner was making sense.
霍纳说得有道理。
There were lots of shifting of chairs and coughing.
有很多椅子的移动和咳嗽。
And then there was more.
然后还有更多。
CAT scans of T.
T 的 CAT 扫描
rex skulls have revealed a sense of smell more elaborate than any other species except the turkey vulture, a handy adaptation if you're pursuing stinking corpses.
霸王龙的头骨显示出比除了火鸡秃鹫以外的任何其他物种都更复杂的嗅觉，如果你正在寻找发臭的尸体，这是一个方便的适应。
Also, his eyesight was poor, not good for predators, who tend to hunt at twilight.
此外，他的视力很差，不适合捕食者，因为捕食者往往在黄昏时捕猎。
At last, Horner said, T.
最后，霍纳说，T.
rex didn't even walk the way every book and National Geographic magazine and Spielberg movie has shown us, standing up, constantly roaring, front claws poised to strike.
霸王龙甚至没有像每本书、《国家地理》杂志和斯皮尔伯格电影中向我们展示的那样行走，站着，不断咆哮，前爪准备攻击。
No, instead, he walked about like a sandpiper, a bird, head down, tail straight out, body parallel to the ground, but with all the agility of a penguin.
不，相反，他像鹬一样走来走去，像一只鸟，头朝下，尾巴伸直，身体与地面平行，但又像企鹅一样敏捷。
It was a strange feeling in that room, as we all experienced a kind of reverse epiphany, when something you are absolutely certain to be true turns out to be completely false.
在那个房间里有一种奇怪的感觉，因为我们都经历了一种反向顿悟，当你绝对确定是真的事情结果是完全错误的。
But you know, once you hear the evidence, it just seems obvious.
但你知道，一旦你听到证据，它看起来就很明显了。
I mean, those tiny claws.
我是说，那些小爪子。
Come on.
快点。
Weren't they always a tip off?
他们不是一直都是告密的吗？
But after a while, I no longer cared about the new T.
但过了一段时间，我就不再关心新T了。
rex as much as I wanted to know where that older figment, the marauding predator, had come from.
我很想知道霸王龙这个古老的虚构人物，掠夺性的掠食者，是从哪里来的。
We invented him, of course, constructed him from just a few bones.
当然，我们发明了他，只是用几块骨头建造了他。
But why?
但为什么？
From his office in Montana, Horner told me that the old T.
霍纳在蒙大拿州的办公室告诉我，老 T.
rex was, in part, the creation of a kind of arms race.
霸王龙在一定程度上是一种军备竞赛的产物。
Edward Cope and O.
爱德华·科普和 O.
C.
C.
Marsh, the two Indiana Joneses of the turn of the century.
马什，世纪之交的两个印第安纳琼斯。
Cope was associated with the University of Pennsylvania, Marsh with Yale.
科普与宾夕法尼亚大学有联系，马什与耶鲁大学有联系。
They were called the bone warriors.
他们被称为白骨战士。
Two men who hated each other's guts, and every year pursued larger pots of money to fund more elaborate excursions, to find even bigger bones.
两个人互相憎恨，每年都追求更大的资金来资助更复杂的旅行，寻找更大的骨头。
It was during the time of P.
那是在P的时代。
T.
T。
Barnum.
巴纳姆.
It was during the time when you put up your most fantastic stuff in your museum or your circus or whatever it is you happen to have.
那是在你把最奇妙的东西放在博物馆、马戏团或任何你碰巧拥有的东西的时候。
And you draw people in.
你吸引人们进来。
And you're competing with everyone else.
而且你正在与其他人竞争。
So a lot of T.
所以T很多。
rex's original persona came not from science but just good old American hucksterism.
霸王龙最初的形象并非来自科学，而是来自美国古老的小贩精神。
That's why they forced T.
这就是他们强迫T的原因。
rex to stand unnaturally upright, on his hind legs.
霸王龙用后腿不自然地直立。
Although there was one other reason.
虽然还有另外一个原因。
It's because people made dinosaur halls with very high ceilings, and they had to fill up that extra space with something.
这是因为人们建造的恐龙大厅的天花板非常高，他们必须用一些东西来填充额外的空间。
But I mean it's hard to tell what it was.
但我的意思是很难说清楚那是什么。
I mean, they wanted these animals to look ferocious, so they made them as tall as possible.
我的意思是，他们希望这些动物看起来很凶猛，所以他们把它们做得尽可能高。
And to make it as tall as possible, they had to bend the tale of T.
为了让它尽可能高，他们不得不改变 T 的故事。
rex, and worse.
雷克斯，甚至更糟。
They broke skeletons.
他们打碎了骨头。
They removed parts.
他们拆除了零件。
It's funny.
很有趣。
I mean, early on, they actually found evidence that animals didn't drag their tails.
我的意思是，在早期，他们实际上发现了动物不会拖尾巴的证据。
But in some cases, they actually removed the evidence so they could get the tail on the floor.
但在某些情况下，他们实际上移除了证据，这样他们就可以把尾巴放在地板上。
Does it get any more rigged than that?
它还有比这更多的操纵吗？
But it isn't just that most of what we thought we knew about dinosaurs was wrong.
但这不仅仅是我们认为我们对恐龙的了解大部分都是错误的。
It turns out that in the century or so since dinosaurs entered human consciousness, they've passed through discernible fashions, changing, not as often as skirts or haircuts, but at a slower pace, like men's lapels, about every 10 to 15 years.
事实证明，自从恐龙进入人类意识以来的一个世纪左右，它们已经经历了明显的时尚，变化的频率不像裙子或发型那么频繁，但速度较慢，就像男士翻领一样，大约每 10 到 15 年变化一次。
They've served as a kind of national psychic Erector Set, which we've put together in different ways depending on our mood.
它们就像一种全国性的通灵装置，我们根据自己的心情以不同的方式将它们组合在一起。
To compile a comprehensive list of dinosaur fashions, I drove back to the first great hall of dinosaurs, New York's Museum of Natural History.
为了编制一份完整的恐龙时尚清单，我开车回到了第一个恐龙大厅，纽约自然历史博物馆。
Earlier this year, they assembled their dinosaur bones into a new, more so-called "accurate" display.
今年早些时候，他们将恐龙骨骼组装成一个新的、更所谓的“精确”展示。
Appropriately enough, before the visitor even gets to see the new exhibit, one has to walk through a tall chamber housing the old standards, the twin icons of dinosaur myth.
恰如其分的是，在参观者看到新展览之前，必须穿过一个高大的房间，里面装有旧标准，即恐龙神话的双胞胎标志。
It was good to see them again.
很高兴再次见到他们。
Here was T.
这里是T。
rex, head bowed in his new humble position.
雷克斯，低着头，摆出他新的卑微姿势。
And across the aisle with his long, gracious neck and frisky, five-ton tail was the old friendly Brontosaurus.
过道对面是老友好的雷龙，它有着长而优雅的脖子和活泼的五吨重尾巴。
I know he has some new name, but I can never remember what it is.
我知道他有一个新名字，但我永远不记得那是什么。
Anyway, Brontosaurus and T.
无论如何，雷龙和T.
rex stand in a room all by themselves these days, obsolete models parked next door to the hipper, newer displays.
如今，霸王龙独自站在一个房间里，过时的模型停在更时髦、较新的展示柜旁边。
In other words, dinosaurs of dinosaurs.
换句话说，恐龙中的恐龙。
I was shown around by Philip Fraley, a mounting expert.
镶样专家菲利普·弗雷利（Philip Fraley）带我四处参观。
He's the man who does the actual work of making these bones assume the positions they do.
他是真正负责使这些骨头占据其应有位置的人。
We sat beneath the rear end of the Brontosaurus.
我们坐在雷龙的后端下方。
Philip tried to take me back to the first decade of the century, when even seeing a dinosaur meant getting on a train and coming to one of the few museums that Cope or Marsh had stocked.
菲利普试图带我回到本世纪的第一个十年，当时即使看到一只恐龙也意味着要坐火车去科普或马什拥有库存的少数博物馆之一。
Given Fraley's occupation, he wanted me to appreciate something else.
鉴于弗雷利的职业，他希望我欣赏其他东西。
By armature, Philip means the steel frame that holds the bones up.
菲利普所说的“骨架”是指支撑骨骼的钢架。
And I did come to appreciate its beauty.
我确实开始欣赏它的美丽。
T-joints and unions, and they've been threaded.
T 形接头和活接头，并且带有螺纹。
Our pelvis weighs 2,000 pounds.
我们的骨盆重 2,000 磅。
So to lift that up and to have 2,000 pounds supported on inch-and-a-half pieces of steel requires a lot of engineering.
因此，要将其举起并用 1.5 英寸的钢材支撑 2,000 磅的重量，需要大量的工程设计。
The tensile strength of the steel, the cantilever weight--
钢材的抗拉强度、悬臂重量——
This was high tech for its time.
这在当时是高科技。
These creatures had slept forever, and now they were upright for the first time in 100 million years.
这些生物已经永远沉睡了，现在它们在一亿年来第一次直立起来。
What had put them back on their feet, literally, was the wrought-iron strength of Pittsburgh steel, the American Industrial Revolution.
从字面上看，让他们重新站起来的是匹兹堡钢铁的锻铁力量，即美国工业革命。
But the exact dates are also timely.
但确切的日期也是及时的。
The Brontosaurus went up in 1906 and the T.
雷龙于 1906 年升空，T.
rex in 1912, just before World War I, when the slumbering giant of America awoke.
1912 年，就在第一次世界大战之前，美国这个沉睡的巨人苏醒了。
To the Europeans, we were still a friendly, dumb rube of Tocqueville's Democracy in America.
对于欧洲人来说，我们仍然是托克维尔《美国民主》中友好而愚蠢的乡巴佬。
But we were about to prove ourselves as international warriors.
但我们即将证明自己是国际战士。
The crowds that flooded through New York's museum saw two images, the affable but dim Brontosaurus, and across the aisle, the berserker rage of T.
涌入纽约博物馆的人群看到了两幅图像，和蔼可亲但暗淡的雷龙，以及过道另一边狂暴的雷龙。
rex, friendly until agitated, then fury, which is how the world came to see us, an amiable, joshing hick who, if provoked, will kick your ass.
雷克斯，友好，直到激动，然后愤怒，这就是世界对我们的看法，我们是一个和蔼可亲、爱开玩笑的乡巴佬，如果被激怒，会踢你的屁股。
By World War II, T.
到了第二次世界大战，T.
rex had become important enough to our nation that, incredibly, there were contingency plans to protect the skeleton the same way we protect the president and the original copy of the Constitution.
霸王龙对我们的国家已经变得足够重要，令人难以置信的是，我们制定了应急计划来保护霸王龙的骨架，就像我们保护总统和宪法原件一样。
The country felt there was a likelihood that the museum could come under attack by the German Army or the German Navy.
该国认为博物馆有可能受到德国陆军或德国海军的攻击。
And in order to preserve the specimens, they contacted the Carnegie Museum in Pittsburgh.
为了保存标本，他们联系了匹兹堡的卡内基博物馆。
So T.
所以T。
rex was shipped off to Pittsburgh, presumably where the Germans would never go.
霸王龙被运往匹兹堡，德国人可能永远不会去那里。
By the '50s and '60s, technology forever changed the dinosaur, and we came into post-war dinosaur fashion.
到了 50 年代和 60 年代，技术永远改变了恐龙，我们进入了战后恐龙时尚。
Where the beast once was made from the T-joints of Bessemer steel, a new substance gave him an improved flexibility.
这头野兽曾经是由贝塞默钢的 T 形接头制成的，而一种新材料赋予了它更高的灵活性。
Plastics.
塑料。
Jack Hitt That's right, Benjamin.
杰克·希特 是的，本杰明。
Plastics.
塑料。
Now any museum could have a perfect reproduction of New York's or Yale's bones.
现在任何博物馆都可以完美地复制纽约或耶鲁的骨头。
A plaster cast could be reproduced endlessly.
石膏模型可以无限地复制。
But this took interpretation out of the hands of paleontologists and put it directly in the hands of museum curators.
但这使得古生物学家无法解释，而是直接交到了博物馆馆长的手中。
What they allowed people to do was to put them into some outrageous poses.
他们允许人们摆出一些令人发指的姿势。
So now dinosaurs could be jimmied into action poses, locked into face to face combat like two upright grizzly bears or reared back ready to assault.
因此，现在恐龙可以摆出动作姿势，像两只直立的灰熊一样进行面对面的战斗，或者向后仰起准备攻击。
This was the '50s dinosaur, the dinosaur of kitsch.
这是 50 年代的恐龙，媚俗的恐龙。
They were no longer held up by steel but animated by plastic, the essence of America at that time, a substance and a future entirely of our own making.
它们不再由钢铁支撑，而是由塑料赋予活力，塑料是当时美国的精髓，是完全由我们自己创造的物质和未来。
These plasticized dinosaurs continued until the cutthroat '80s, the decade of Michael Milken.
这些可塑恐龙一直持续到残酷的 80 年代，也就是迈克尔·米尔肯 (Michael Milken) 的时代。
In this era, no longer was the dinosaur a big, dim monster.
在这个时代，恐龙不再是一个巨大而昏暗的怪物。
Now he was a sleek, swift, calculating hunter, the Velociraptor, a six-foot tall predatory entrepreneur who learned and adapted quickly.
现在他是一个圆滑、敏捷、精于算计的猎人，迅猛龙，一个六英尺高的掠夺性企业家，学习和适应很快。
He was the perfect dinosaur for global capitalism, who'd eventually star in a bestselling book and movie, Jurassic Park.
他是全球资本主义的完美恐龙，最终出演了畅销书和电影《侏罗纪公园》。
They're lethal at eight months.
它们在八个月时就致命了。
And I do mean lethal.
我的意思是致命的。
Do they show intelligence?
他们表现出智慧吗？
Muldoon Even problem-solving intelligence.
Muldoon 甚至是解决问题的智力。
When she looks at you, you can see she's working things out.
当她看着你时，你可以看到她正在解决问题。
They remember.
他们记得。
T.
T。
rex is so strange in that movie.
雷克斯在那部电影中很奇怪。
He comes across like the elderly member of the family.
他给人的印象就像是家里的年长成员。
His big scene is when he eats the lawyer.
他的大场面是当他吃掉律师的时候。
But T.
但是T。
rex is clearly second banana to our new star.
霸王龙显然是继我们的新星之后的第二个香蕉。
His appearance is like Robert Mitchum's cameo in the updated Cape Fear , a wink at the audience from the grizzled original.
他的外表就像罗伯特·米彻姆在更新版《恐惧角》中的客串，是灰白的原作中对观众眨眼的动作。
[DINOSAUR ROARING] Now, the '90s dinosaur.
[恐龙咆哮] 现在，90 年代的恐龙。
Philip and I walked into the new dino display, where T.
菲利普和我走进了新的恐龙展示区，T.
rex and the Brontosaurus hardly seem relevant.
霸王龙和雷龙似乎没什么关系。
We see dinosaur eggs and baby dinosaurs.
我们看到恐龙蛋和小恐龙。
The ambiance is largely about parenting.
这种氛围主要是关于养育子女的。
The scenes are more ecological and holistic.
场景更加生态和整体。
We are meant to see these animals as part of the natural ecosystem of their time, eggs, babies, parents, death, bones.
我们应该将这些动物视为当时自然生态系统的一部分：蛋、婴儿、父母、死亡、骨头。
This is a story about the cycles of life, a warmer tale, a greener tale.
这是一个关于生命轮回的故事，一个更温暖的故事，一个更环保的故事。
This is a story of dinosaurs not as George Patton would see them, but as Al Gore would, emblems of a proper view of the environment.
这是一个关于恐龙的故事，不像乔治·巴顿（George Patton）所认为的那样，而是像阿尔·戈尔（Al Gore）那样，象征着正确的环境观。
The Eco-saur, who's seen the light of family values and the beauty of biodiversity.
生态蜥蜴，看到了家庭价值观的光芒和生物多样性的美丽。
And in an era when America's role in the world is uncertain, when solutions to many of its problems are unclear, our nation's dinosaur exhibits speak directly to our time in bright yellow stickers attached directly to the display cases.
在美国在世界上的角色不确定、许多问题的解决方案尚不清楚的时代，我们国家的恐龙展品通过直接贴在展示柜上的亮黄色贴纸直接表达了我们的时代。
That message, "We just don't know."
该信息是“我们只是不知道”。
Like, look at this one right here.
就像，看看这里的这个。
Look at this sign.
看看这个标志。
There's a big yellow sign.
那里有一个很大的黄色标志。
And it says, "These are all intriguing hypotheses, but the fossils do not give us enough evidence to test whether any of them are correct.
它说：“这些都是有趣的假设，但化石没有给我们足够的证据来检验它们是否正确。
The mystery remains unresolved."
这个谜团仍未解开。”
Well, right.
嗯，对。
I mean, I think that what we're saying is believe what you want to believe.
我的意思是，我认为我们所说的是相信你愿意相信的。
Still, after you've passed by every display, it's possible to sense a coherent thesis among the hedging plaques and timid explanations.
尽管如此，当你经过每一个展示后，还是有可能在对冲牌匾和胆怯的解释中感受到一个连贯的论点。
I honestly couldn't put my finger on it at first, but Philip did.
老实说，一开始我无法确定这一点，但菲利普做到了。
Dinosaurs were the most successful life form that ever lived on this planet, and they became extinct.
恐龙是这个星球上曾经生活过的最成功的生命形式，但它们却灭绝了。
And extinction is a real part of life.
灭绝是生命真实的一部分。
And it's not so bad.
情况并没有那么糟糕。
Well, sure, if you're a fungus or a bug.
好吧，当然，如果你是真菌或虫子。
You know, it was only 100 years ago that dinosaurs signaled the beginning of American greatness.
要知道，仅仅在 100 年前，恐龙就标志着美国伟大的开始。
What progress we've made.
我们取得了哪些进展。
When the dinosaurs died out, the world went on and other species were created.
当恐龙灭绝后，世界继续存在，其他物种被创造出来。
One of those species happened to be the human form.
其中一个物种恰好是人类形态。
I think that in all likelihood, our species one day will become extinct.
我认为我们的物种很可能有一天会灭绝。
And when that happens, that's probably not a bad thing.
当这种情况发生时，这可能并不是一件坏事。
I'm reminded of a Gary Larson cartoon.
我想起了加里·拉尔森的一部动画片。
An auditorium of dinosaurs are assembled.
恐龙礼堂已组装完毕。
They're seated in their chairs, their long necks and little pin heads looking quizzically at the dinosaur speaking on the stage.
他们坐在椅子上，长长的脖子和小针头疑惑地看着舞台上讲话的恐龙。
He's showing a big map of the world, poking at it with a pointer.
他正在展示一张大世界地图，并用指针戳着它。
And he's saying, "Folks, the news is bad.
他说：“朋友们，这个消息很糟糕。
Another ice age is coming, food is growing scarce, and we've got brains the size of walnuts."
另一个冰河时代即将到来，食物越来越稀缺，而我们的大脑却只有核桃那么大。”
[MUSIC - "I'M A LITTLE DINOSAUR" BY JONATHAN RICHMAN]
[音乐 - 乔纳森·里奇曼的《我是小恐龙》]
Jonathan Richman.
乔纳森·里奇曼。
And before that, Jack Hitt, a This American Life contributing editor and a writer who lives in New Haven.
在此之前，杰克·希特（Jack Hitt）是《美国生活》的特约编辑，也是一位住在纽黑文的作家。
Well, coming up, we go back in time only 900 years with another simulated world.
好吧，接下来，我们回到 900 年前的另一个模拟世界。
That's in a minute, from Public Radio International, when our program continues.
稍后，国际公共广播电台将继续我们的节目。
It's This American Life .
这就是美国生活。
I'm Ira Glass.
我是艾拉·格拉斯。
Each week on our program, of course, we choose a theme and bring you a variety of stories on that theme.
当然，每周我们的节目都会选择一个主题，并为您带来有关该主题的各种故事。
Today's show, Simulated Worlds.
今天的节目，模拟世界。
And we have arrived at Act Three of our program.
我们已经到了我们计划的第三幕了。
I'm just going to describe where we are.
我只是要描述一下我们在哪里。
We're heading out on Interstate 90 here, just north of Chicago, towards the northwest suburbs.
我们正沿着芝加哥北部的 90 号州际公路前往西北郊区。
And it's just basically your basic industrial parks.
这基本上就是你的基础工业园区。
There's a building called Intergraph.
有一座大楼叫鹰图。
But we're looking for the Middle Ages.
但我们正在寻找中世纪。
We're on a quest for Medieval authenticity, because we're going to Medieval Times.
我们正在寻找中世纪的真实性，因为我们要去中世纪时代。
Medieval Times is a chain of seven fake castles across the United States.
《中世纪时代》是由七座遍布美国的假城堡组成的链条。
For about $35 per person, you get a jousting tournament and Medieval dinner.
每人花费大约 35 美元，您就可以参加马术比赛和中世纪晚餐。
Drinks, commemorative photos, and a trip to the dungeon cost extra.
饮料、纪念照片和地牢之旅均需额外付费。
To judge the authenticity and meaning of the experience, I asked Michael Camille to come with me.
为了判断这次经历的真实性和意义，我邀请迈克尔·卡米尔和我一起去。
He's a Medieval scholar at the University of Chicago.
他是芝加哥大学的中世纪学者。
And he's actually made it his hobby to visit Medieval re-creations and tourist sites wherever he can find them.
事实上，他的爱好是参观任何他能找到的中世纪重建和旅游景点。
He had never been to Medieval Times before, but he had been to several re-creations of the Middle Ages in Europe, where they do them in real castles.
他以前从未去过中世纪时代，但他去过欧洲的几次中世纪重建，他们在真正的城堡中进行这些活动。
There's one called the Canterbury Pilgrims' Way in Canterbury in England, where you literally go into a space where everything, the sound and even the smell of the Middle Ages, is supposedly re-created.
英国坎特伯雷有一条叫做“坎特伯雷朝圣之路”的路，在那里你实际上进入了一个空间，那里的一切、声音甚至中世纪的气味都被认为是重现的。
They say, see the sights, smell the smells.
他们说，看风景，闻气味。
So you smell the farmyard where the peasants are milking the cows.
所以你闻到农家院子里农民正在挤奶的味道。
And they had wax figures?
他们有蜡像吗？
Michael Camille And they had waxwork figures for the individual.
迈克尔·卡米尔 他们为个人制作了蜡像。
And did they smell?
它们有气味吗？
Michael Camille They smelled.
迈克尔·卡米尔 他们闻到了。
Michael says he notices an upsurge in interest in the Middle Ages, in Medieval fairs, in Medieval re-creations.
迈克尔说，他注意到人们对中世纪、中世纪集市和中世纪重建的兴趣高涨。
He thinks it's because most people see the Middle Ages as a time when life was orderly and simple, when knights were knights and peasants were peasants and people knew where they stood.
他认为这是因为大多数人认为中世纪是一个生活有序而简单的时代，骑士就是骑士，农民就是农民，人们知道自己的立场。
Or that's what people think anyway.
或者说人们就是这么想的。
Then there are the people who are attracted to the Gothic horror of the period, gargoyles, dungeons.
还有一些人被那个时期的哥特式恐怖、石像鬼、地牢所吸引。
It's the same thing.
这是同样的事情。
It's finding an ideal.
就是寻找一个理想。
Except the ideal's exactly the opposite.
但理想恰恰相反。
It's disorder, not order.
这是无序，不是秩序。
It's monstrosity, not pageantry.
这是怪物，而不是华丽。
Do you think that the impulse that draws people to a place like Medieval Times and to places like Medieval fairs, do you believe that that impulse that pulls people towards those things is similar to the impulse that makes you a historian of this period?
您是否认为吸引人们前往中世纪时代和中世纪集市等地方的冲动，您是否认为这种吸引人们走向这些事物的冲动与使您成为这一时期的历史学家的冲动相似？
People have different reasons for the time traveling-- is what we're doing now.
人们对于时间旅行有不同的原因——这就是我们现在正在做的事情。
Some people time travel now to really enter another world and to escape, ultimately.
有些人现在进行时间旅行，真正进入另一个世界并最终逃离。
For our great-grandparents who liked Medieval things, I think it seemed very safe, the Middle Ages.
对于我们喜欢中世纪事物的曾祖父母来说，我认为中世纪似乎非常安全。
If you were religious, it was a nice, sacred time.
如果你有宗教信仰，那是一段美好而神圣的时光。
If you were interested in chivalry, it was a chivalric time and concepts of honor were crucial.
如果你对骑士精神感兴趣，那是一个骑士时代，荣誉观念至关重要。
My interest, I suppose, is more-- I see it as a time of enormous other-ness to us today.
我想，我的兴趣更多的是——我认为这是一个对我们今天来说具有巨大差异的时代。
I think of it as incredibly different from today.
我认为它与今天非常不同。
And it's that difference that excites me.
正是这种差异让我兴奋。
It was a world in which you could get married when you were 12 years old, and when you could be burned at the stake for thinking certain things.
在这个世界里，你 12 岁就可以结婚，也可能因为想某些事情而被烧死在火刑柱上。
I mean, it's a world of such difference.
我的意思是，这是一个截然不同的世界。
That's what fascinates me.
这就是让我着迷的地方。
See, I wonder, in fact, if they're going to emphasize an other-ness, or if we'll feel any other-ness, or if everything will be--
瞧，我想知道，事实上，他们是否会强调一种差异性，或者我们是否会感受到任何差异性，或者是否一切都会——
Well, that's the interesting-- let's see.
嗯，这很有趣——让我们看看。
That will be interesting.
那会很有趣。
We continue driving past industrial parks and suburban sprawl until finally, just past the corporate campus of one of the most high-tech companies in America, Motorola, Michael and This American Life producer, Nancy Updike, and I see the sign.
我们继续驶过工业园区和郊区，直到最后，刚刚经过美国高科技公司之一摩托罗拉、迈克尔和《美国生活》制片人南希·厄普代克的企业园区，我看到了标志。
Medieval Times, next right.
中世纪时期，下右。
OK, now keep your eyes peeled.
好吧，现在请睁大眼睛。
See the flags over there?
看到那边的旗帜了吗？
I bet they're underneath-- do you see it?
我敢打赌它们就在下面——你看到了吗？
Oh, my goodness.
哦，我的天啊。
There it is.
就在那里。
It's a wonderful-- look at the marvelous crenulation, with three flags, the American flag-- I can't see, it's too far away to see what other flag.
这是一个美妙的——看看那奇妙的圆齿，上面有三面旗帜，美国国旗——我看不到，太远了，看不到其他什么旗帜。
And of course, that, [UNINTELLIGIBLE] have a problem.
当然，[无法理解]有一个问题。
The American flag flying over a Medieval castle.
美国国旗飘扬在中世纪城堡上空。
A 14th-century castle, Michael says.
迈克尔说，这是一座 14 世纪的城堡。
A late 14th-century castle combined with a McDonald's.
一座 14 世纪末的城堡与一家麦当劳餐厅的结合体。
Picture, if you will, a low, square, industrial warehouse with turrets and castle towers stuck on here and there.
如果你愿意的话，想象一下一个低矮的方形工业仓库，到处都是炮塔和城堡塔楼。
As we pull up closer, we see that the whole building is made of this kind of plastic-y cement with lines carved on it to imitate stones.
当我们靠近时，我们看到整个建筑是由这种塑料水泥制成的，上面刻有模仿石头的线条。
Michael marvels at what he keeps calling the heraldry, the huge, multi-colored shields hanging high on the wall facing the parking lot.
迈克尔对他一直称之为纹章的东西感到惊叹，即高高悬挂在面向停车场的墙上的巨大的彩色盾牌。
They are authentic, he says.
他说，它们是正宗的。
In the parking lot, we encounter an unpleasant smell, but we are unable to determine if it is authentic Middle Ages or not.
在停车场，我们闻到了一股难闻的气味，但我们无法确定是否是正宗的中世纪。
And then--
然后——
If you would, proceed through the doorway.
如果愿意，请穿过门口。
You should be meeting with the royal couple, His Grace the Count and the Lady Contessa.
您应该会见皇室夫妇，伯爵陛下和伯爵夫人。
We're barely in the door and people in bright, velvety costumes are count and contessa-ing us.
我们刚进门，穿着明亮、柔软的服装的人们就开始对我们表示欢迎。
And we're quickly ushered before a man in a crown and a cape who looks a lot like the post-James Bond pre- Rising Sun Sean Connery and a woman in a glittery princess dress.
我们很快就被带到了一个戴着王冠、披着斗篷的男人和一个穿着闪闪发光的公主裙的女人面前，他看起来很像后詹姆斯·邦德、旭日东升前的肖恩·康纳利。
It's not really the costumes that get to you in Medieval Times.
在中世纪时代，真正吸引你的并不是服装。
Walking around, you realize the sheer power of language.
四处走走，你就会意识到语言的力量。
Everyone is calling you m'lord and m'lady and it is hard to know how to respond.
每个人都在称呼你们“先生”和“女士”，但很难知道如何回应。
Everyone in our little group gets very awkward.
我们小组中的每个人都变得非常尴尬。
For some reason, I find that I stop using contractions, as if no one around me speaks English as a first language.
出于某种原因，我发现我不再使用缩写，就好像我周围没有人以英语为第一语言一样。
We do not understand that.
我们不明白这一点。
We can not all go together.
我们不可能都一起走。
Nancy, meanwhile, completely freaks out.
与此同时，南希完全吓坏了。
I'm going to play you this piece of tape.
我要给你播放这盘磁带。
And what you need to know is that when it starts, she's sticking a big boom microphone in the count's face.
你需要知道的是，当它开始时，她把一个大吊杆麦克风放在伯爵的脸上。
I'm not familiar with that term, "radio." What is that?
我不熟悉“无线电”这个词。那是什么？
She's pointing a strange weapon at us, m'lady.
她用一把奇怪的武器指着我们，女士。
I know not what that is.
我不知道那是什么。
It's some kind of a mace, I believe.
我相信这是某种狼牙棒。
All of a sudden, without warning, she bows.
突然，毫无预兆地，她鞠了一躬。
We mean you no harm.
我们的意思是不伤害你。
The Count Oh, is that right?
伯爵哦，是吗？
Thank you.
谢谢。
I am glad to hear that.
我很高兴听到这个消息。
Our photo is taken with the royals.
我们的照片是与皇室成员合影的。
Those photos are for sale later in the evening.
这些照片将在晚上晚些时候出售。
And we are each handed a black-and-white paper crown.
我们每人都得到了一顶黑白纸皇冠。
Everyone acts like there is no question whether or not we will, in fact, where these crowns.
每个人都表现得好像毫无疑问我们是否会，事实上，这些王冠在哪里。
Tonight you shall be cheering for the holy and pious warrior priest, the black and white knight.
今晚，你们将为圣洁虔诚的武士牧师、黑白骑士欢呼。
Your mortal enemy for this evening's tournament is the red and yellow knight.
今晚比赛的死敌是红黄骑士。
Michael, our Medieval scholar, is loving this.
我们的中世纪学者迈克尔很喜欢这个。
And I mean, loving it.
我的意思是，喜欢它。
He loves how they try to get the audience involved in the experience.
他喜欢他们如何让观众参与到体验中。
He loves the fact that everyone is divided into six different teams, each rooting for a different region of Spain, each rooting for a different knight.
他喜欢这样一个事实：每个人都被分为六支不同的球队，每支球队都支持西班牙的不同地区，每支球队都支持不同的骑士。
He loves the fact that we were introduced to the lords of this castle.
他很高兴我们被介绍给这座城堡的领主。
This is just wonderful.
这真是太棒了。
This is so much more exciting than I imagined.
这比我想象的要令人兴奋得多。
This is a really wonderful experience.
这真是一次美妙的经历。
Well, what are you seeing that you're liking so far?
那么，到目前为止，您看到什么是您喜欢的？
Well, I think that's very nice to be welcomed by the lord and lady of the castle.
嗯，我认为受到城堡的领主和女士的欢迎真是太好了。
Hospitality was a crucial aspect of the Medieval tournament.
热情好客是中世纪锦标赛的一个重要方面。
Really?
真的吗？
Michael Camille Its whole point was you were being hospitable.
迈克尔·卡米尔 重点是你的热情好客。
You were bringing people into your-- and giving them a little largesse.
你把人们带入你的世界，并给予他们一点慷慨。
Because we're here as members of the media, we're soon taken aside to be greeted by the real lord of this particular castle.
因为我们是作为媒体成员来到这里，所以我们很快就被带到一边去迎接这座特殊城堡的真正领主。
His name is Leslie Davies and he is not wearing a velvet cape, but rather a well-cut, expensive looking, dark blue suit.
他的名字叫莱斯利·戴维斯，他没有穿天鹅绒斗篷，而是穿着剪裁精良、看起来昂贵的深蓝色西装。
I'm the man that cuts that fish.
我就是那个切鱼的人。
In other words, I sign the paychecks.
换句话说，我在工资单上签字。
So yes, I am the lord.
所以，是的，我是主。
Mr. Davies is the general manager here.
戴维斯先生是这里的总经理。
He says that Medieval Times started in Spain.
他说中世纪时代始于西班牙。
Its owners are Spanish.
它的主人是西班牙人。
And so the tournament we're about to see is a re-creation of a Spanish-style tournament in the year 1093.
因此，我们即将看到的锦标赛是 1093 年西班牙风格锦标赛的重现。
He says the main difference between the two European castles owned by the firm and the seven in the States is that the crowds in the United States are less inhibited when they root for their knights.
他说，该公司拥有的两座欧洲城堡与美国的七座城堡之间的主要区别在于，美国的群众在支持骑士时不那么拘束。
It is, by his account, a very profitable little kingdom they run.
按照他的说法，这是他们经营的一个非常有利可图的小王国。
How much does one of these buildings cost you to put up?
建造这些建筑物中的一栋需要多少钱？
Between $15 and $20 million.
15 至 2000 万美元之间。
Ira Glass How many people do you serve here a year?
Ira Glass 你们每年在这里服务多少人？
About 300,000.
大约30万。
Ira Glass Marketing manager Steve Davidson pipes in.
Ira Glass 营销经理 Steve Davidson 插话。
That's 300,000 appetizers, 300,000 bowls of soup, 300,000 chickens, 600,000 glasses of Pepsi.
那是30万份开胃菜、30万碗汤、30万只鸡、60万杯百事可乐。
It's rather involved.
这是相当涉及的。
Now, to get a perspective on exactly what these numbers mean, I think we actually have to leave the scene in the castle for a moment.
现在，为了准确了解这些数字的含义，我认为我们实际上必须暂时离开城堡中的场景。
Let me get this sound out of here.
让我把这个声音从这里发出来。
OK, there.
好的，就在那里。
And now, well, let's do the numbers.
现在，我们来算一下数字。
Medieval Times in Chicago serves 300,000 people a year.
芝加哥的中世纪时报每年为 300,000 人提供服务。
300,000 is also the size of the audience of Chicago's public radio station, where I work.
30万也是我工作的芝加哥公共广播电台的听众规模。
Now let us consider staff size.
现在让我们考虑一下员工规模。
Size of National Public Radio's entire network news division, that's all of Morning Edition all of All Things Considered all of National Public Radio's reporters all over the globe is 195 people.
国家公共广播电台整个网络新闻部门的规模，即晨报版的全部内容，考虑到国家公共广播电台在全球的所有记者，有 195 人。
Medieval Times has 250 full-time employees at this one castle.
Medieval Times 在这一城堡拥有 250 名全职员工。
Remember there are six others in addition.
请记住，此外还有其他六个。
Medieval Times has an annual budget that is millions of dollars larger than National Public Radio.
中世纪时报的年度预算比国家公共广播电台还要多数百万美元。
And all of this data may not mean all that much to you.
所有这些数据对您来说可能意义不大。
But from where I sit, I feel that it forces me to this disturbing conclusion.
但从我坐的地方来看，我觉得这迫使我得出这个令人不安的结论。
And that is that I work for a radio network that is less popular than jousting, a sport that has been dead for 400 years.
那就是我为一家广播网络工作，该网络的受欢迎程度不如马术比赛，这项运动已经消亡了 400 年。
All the way around, please, to the very last green section.
请一路绕到最后一个绿色区域。
The audience now files into an arena that seats around 1,400.
观众现在鱼贯涌入可容纳 1,400 人的竞技场。
It looks like a medium-sized professional hockey rink, partly because they have those Plexiglas screens around the edges of the oval to protect you, to divide you from the performers who are down there in the center.
它看起来像一个中型的专业曲棍球场，部分原因是椭圆形边缘周围有有机玻璃屏幕来保护您，将您与中心的表演者分开。
Instead of ice, of course, in the center there's sand.
当然，中心不是冰，而是沙子。
And the tiered seats that rise up steeply on all sides of this oval have tables in front of them for dinner.
在这个椭圆形的四面都陡峭地升起的分层座位前面有桌子供晚餐。
And the seats are color-coded.
座位是用颜色编码的。
Everyone rooting for our knight, the black and white knight, sits together in a group.
每个支持我们的骑士，黑白骑士的人都坐在一起。
Michael notices the music.
迈克尔注意到了音乐。
As these people are processing in, we have Gregorian chant religious music, beautiful, piped, liturgical music going on in the background.
当这些人进来的时候，我们听到格里高利圣歌的宗教音乐，优美的、管乐的、礼拜仪式的音乐作为背景音乐。
Which is very strange at a tournament.
这在锦标赛中是很奇怪的。
Strange and inaccurate?
奇怪且不准确？
Michael Camille But again, I don't like using that word, "inaccurate." You can't measure an experience like this through accuracy, because I just don't think that's the right criteria to say this isn't right, because I think it's how it feels.
迈克尔·卡米尔：但是，我不喜欢使用“不准确”这个词。你不能通过准确性来衡量这样的体验，因为我认为这不是说这是不正确的正确标准，因为我认为这就是它的感觉。
But that doesn't feel quite right to you?
但你觉得不太对劲？
The priest might do a blessing, or something.
牧师可能会做祝福之类的事情。
But you're not going to have monks singing part of the holy liturgy before a tournament.
但在比赛之前你不会让僧侣们唱部分神圣的礼拜仪式。
It turns out the entire evening is scored with music.
事实证明，整个晚上都伴随着音乐。
It's like a movie.
这就像一部电影。
During the horse exhibition section of the evening, there's a kind of disco, horsey music.
晚上的马匹展览部分，有一种迪斯科、马的音乐。
Nancy swears she heard Carmen at one point during the evening.
南希发誓她在晚上的某一时刻听到了卡门的声音。
But most of the music sounds like the soundtrack of a movie whose images and values, when you get right down to it, come straight from the Middle Ages.
但大多数音乐听起来就像电影的配乐，当你仔细研究它的图像和价值观时，你会发现它直接来自中世纪。
[TRUMPET FANFARE] Doesn't this sound like the theme to Star Wars?
[喇叭声] 这听起来不像是《星球大战》的主题曲吗？
Good evening, my lords and lady, and welcome to Medieval Times.
晚上好，各位大人，女士们，欢迎来到中世纪时代。
My name is Jim and I'll be your serf tonight.
我叫吉姆，今晚我将成为你的农奴。
Jim brings us each a Medieval appetizer, a kind of faux pizza, a Medieval roasted chicken, which is conveniently pre-sliced-- which is important because we're given no silverware and have to tear it apart with our hands-- and our Medieval Pepsis.
吉姆给我们每人带来了一份中世纪的开胃菜、一种人造披萨、一只中世纪的烤鸡（方便地预先切片——这很重要，因为我们没有得到银器，必须用手把它撕开——还有我们的中世纪百事可乐。
Nancy and Michael find the food hateful, but I kind of like it.
南希和迈克尔觉得这些食物很讨厌，但我有点喜欢。
Are you a wench.
你是个丫头吗？
Photo Wench Yes, I am a wench.
照片 姑娘 是的，我是姑娘。
I am a photo wench.
我是一个摄影姑娘。
Ira Glass We're informed that "wench" is an actual job title here, that it's on the application.
Ira Glass 我们获悉，“wench”是这里的一个实际职位名称，它出现在申请表上。
We wonder if people put it on their resumes once they've worked here.
我们想知道人们在这里工作后是否会把它写在简历上。
Cocktail wenches, server wenches.
鸡尾酒女郎、服务员女郎。
Michael says the whole wench thing, the whole idea of it, is just complete bunk.
迈克尔说，整个女人的事，整个想法，完全是胡说八道。
In the real Middle Ages, women actually never served food to nobles, who were the only people who attended tournaments like this.
在真正的中世纪，女性实际上从来不会为贵族提供食物，贵族是唯一参加这种比赛的人。
And in fact, even the word "wench" did not exist until much, much later.
事实上，甚至“姑娘”这个词也是很久很久以后才出现的。
So "wench" is-- you know, "ye olde wench," is a modern construction.
所以“wench”是——你知道，“ye olde wench”是一个现代结构。
That's a construction that's something to do with London pubs of the 18th century.
这是一个与 18 世纪伦敦酒吧有关的建筑。
It's not to do with the Middle Ages.
这与中世纪无关。
Soon, another anachronism.
很快，又出现了一个不合时宜的情况。
All the serfs and wenches traipse out into the central arena.
所有的农奴和女仆都悠闲地来到中央竞技场。
My lords and ladies, show your appreciation for your hard-working serfs and wenches.
先生们，女士们，请向辛勤工作的农奴和女人们表示感谢。
Oh.
哦。
The serfs and wenches are out now.
农奴和姑娘们现在都出去了。
But you see, you'd never have serfs and wenches out on the tournament field.
但你看，锦标赛场上永远不会有农奴和女仆。
Because they're too lowly?
因为他们太卑微？
Michael Camille They're too lowly.
迈克尔·卡米尔 他们太卑微了。
They're absolutely lowly.
他们绝对是卑微的。
But this is America after all, where any serf or wench can grow up to be president.
但这毕竟是美国，任何农奴或少女都可以长大成为总统。
And so it is no surprise that commoners end up on the playing field with the nobles.
因此，平民最终与贵族同场竞技也就不足为奇了。
And it is the nobles who star in the show.
这场演出的主角是贵族。
Six knights and six squires, all of them with long hair and fake chain-mail that gives them a look that's part Middle Ages and part Jon Bon Jovi.
六名骑士和六名侍从，他们都留着长发，戴着假链甲，让他们看起来一半是中世纪，一半是乔恩·邦·乔维 (Jon Bon Jovi)。
They start by doing these complicated dressage demonstrations with their horses.
他们首先用马匹进行复杂的盛装舞步表演。
They have these beautiful Andalusian stallions.
他们有这些美丽的安达卢西亚种马。
And the horses have been trained to side step and bow and weave in and out in complicated patterns.
马匹经过训练，可以侧步、鞠躬、以复杂的方式进进出出。
The knights then do these various kinds of target practice on horseback.
然后骑士们在马背上进行各种打靶练习。
The capture flags, they hit bullseyes, they spear tiny brass rings with their lances.
他们夺取旗帜，击中靶心，用长矛刺穿微小的铜环。
None of this, Michael says, would have been part of a real Medieval tournament.
迈克尔说，这一切都不会是真正的中世纪锦标赛的一部分。
This would be practice, practice stuff you do beforehand.
这就是练习，练习你之前做的事情。
Then the arena begins to fill with smoke.
然后竞技场开始充满烟雾。
Fog machines pump out so much mist you cannot see the floor.
烟雾机喷出的雾气太多，以至于你看不到地板。
There's eerie purple light and a hooded figure with a lantern.
有诡异的紫色光芒和一个拿着灯笼、戴着兜帽的人物。
Oh, no. No, in the arena.
哦，不。不，在竞技场里。
This does not bode well, Your Grace.
这可不是什么好兆头，陛下。
I shall summon forth your court sorcerer at once.
我会立即召唤你们的宫廷巫师。
Through this mist walks Lord [?
主在这迷雾中行走[?
Gallenon ?], high priest of the Druids.
加勒农？]，德鲁伊大祭司。
High priest of the Jews?
犹太人的大祭司？
Did he say high priest of the Jews?
他说的是犹太人的大祭司吗？
The Druid.
德鲁伊。
The Druid.
德鲁伊。
Druid.
德鲁伊。
Now, this is a funny mixture.
现在，这是一个有趣的混合物。
There were no Druids in 1119, Spain.
1119年的西班牙还没有德鲁伊。
The Druids were in England.
德鲁伊在英格兰。
And they vanished 600 years before tournaments like this.
他们在像这样的比赛之前 600 年前就消失了。
They built Stonehenge.
他们建造了巨石阵。
This was the one moment at Medieval Times when Michael seemed truly disappointed.
这是《中世纪时代》中迈克尔显得真正失望的时刻。
I think they're trying to evoke Mer-- why didn't they use Merlin, or something.
我认为他们试图唤起梅——为什么他们不使用梅林之类的东西。
Like, Merlin the magician, that would be more apt. So it's to bring in a feeling of magic.
比如，魔术师梅林，这个词更贴切。所以它是为了带来一种神奇的感觉。
I suppose this is a New Age-y bit of it.
我想这是新时代的一点。
After this, there are more impressive horse maneuvers.
之后，还有更令人印象深刻的马术表演。
We're told that we're supposed to boo every time the green knight appears.
我们被告知每次绿色骑士出现时我们都应该发出嘘声。
The green knight is set up as the evil knight in this pageant.
绿色骑士在这次选美中被设定为邪恶骑士。
Michael says that particular color choice is not the best.
迈克尔说，特定的颜色选择并不是最好的。
He says that in the Middle Ages, green was the color of goodness, it was the color of godliness.
他说，在中世纪，绿色是善良的颜色，是虔诚的颜色。
Think Sir Gawain and the Green Knight.
想想高文爵士和绿衣骑士。
Black, he says, would have been a more accurate color to represent an evil knight in the Middle Ages, but black representing evil probably would not fly in multicultural, modern America.
他说，在中世纪，黑色是代表邪恶骑士的更准确的颜色，但代表邪恶的黑色可能在多元文化的现代美国行不通。
Finally, target practice is finished, and the main event's about to begin.
终于，打靶练习结束了，重头戏即将开始。
Jousting.
比武。
You're holding a couch lance.
你拿着沙发长矛。
That's the lance that you're holding under your right shoulder.
那是你右肩下握着的长矛。
And the whole point in the joust itself is to unhorse your opponent.
比武本身的全部目的就是让你的对手下马。
So wait a second.
所以等一下。
These guys are going to charge against each other?
这些人要互相指责吗？
I mean, it's just occurred to me, the reality of what's going to happen here.
我的意思是，我刚刚想到了这里将要发生的事情的现实。
They're going to charge at each other and try to hit each other off of a horse with a big stick?
他们要互相冲锋并试图用一根大棍子把对方打下马吗？
That's what a joust is.
这就是比武。
Ira Glass How can you survive that?
艾拉·格拉斯（Ira Glass）你怎么能活下来？
Women and girls in the audience give handkerchiefs to the various knights to carry into battle, a historically correct moment that Michael likes a lot.
观众席上的妇女和女孩向各个骑士递上手帕，让他们带着上战场，这是迈克尔非常喜欢的历史正确时刻。
And then the jousting begins.
然后比武开始。
Over the course of the evening, we've learned next to no facts or history about the Middle Ages.
整个晚上，我们几乎没有了解到有关中世纪的事实或历史。
But Medieval Times does stage a great fight.
但《中世纪时代》确实上演了一场伟大的战斗。
It's complicated.
情况很复杂。
It's cinematic.
这是电影化的。
As I said earlier, there's music through everything that happens on this arena.
正如我之前所说，这个舞台上发生的一切都伴随着音乐。
It's totally choreographed.
这完全是精心设计的。
It lasts a long time.
它持续很长时间。
And it involves no fewer than 14 people and six horses.
涉及人数不少于14人和6匹马。
Green knocked yellow off the horse.
绿色将黄色从马上击落。
Now the green guy is coming at him with a-- ooh!
现在绿色的家伙正向他走来，发出“哦！”的声音。
What is that?
那是什么？
That's a mace.
那是一根狼牙棒。
Ira Glass It's a ball on a chain on a stick.
Ira Glass 这是一个挂在棍子上的链条上的球。
Ooh, that's-- Ira Glass And now the yellow guy is staggering around, holding a knife.
哦，那是—— Ira Glass 现在那个黄种人拿着一把刀摇摇晃晃地走来走去。
Green knight.
绿骑士.
Hold.
抓住。
Stand fast.
坚守。
You have lost your weapon and therefore lost the honor of horseback.
你失去了武器，也就失去了马背上的荣誉。
I say dismount and continue the fight on foot.
我说下马继续徒步战斗。
So the green-- the [UNINTELLIGIBLE] knight is getting down now.
所以绿色的——[无法理解的]骑士现在正在下降。
Now, wait.
现在，等等。
Now, would that happen in a real tournament?
现在，这会发生在真正的锦标赛中吗？
They'd tell the guy to get off the horse?
他们会叫那家伙下马吗？
Yes.
是的。
Because often tournaments would-- in fact, this is a misconception about knights.
因为锦标赛经常会——事实上，这是对骑士的误解。
Even when knights went into battle in the battlefield, they got off their horses to fight.
即使骑士上战场，也是下马作战。
The English became the great warriors of the late Middle Ages by getting off their horses just like this and fighting on the ground.
英国人就是这样下马并在地面上作战，成为中世纪后期伟大的战士。
Because you couldn't do much on a horse.
因为你不能在马身上做太多事情。
You could do the lance thing, but you couldn't kill someone up close.
你可以用长矛，但你不能近距离杀死一个人。
By the end of the evening, everybody's been killed except for the evil green knight, who gets sent to the dungeon and one other knight, our knight, the black and white knight.
到了晚上，所有人都被杀了，除了邪恶的绿色骑士，他被送到地牢，还有另一位骑士，我们的骑士，黑白骑士。
Later, we were told the whole thing's fixed.
后来，我们被告知整个问题都解决了。
And they put us on the black and white team, because they knew he was going to win.
他们把我们分到黑白队，因为他们知道他会赢。
Michael points out that the whole idea that these knights would try to kill each other is not historically accurate.
迈克尔指出，这些骑士会试图互相残杀的整个想法在历史上并不准确。
Most tournaments were not intended as a fight to the finish.
大多数锦标赛的目的并不是要战斗到底。
But despite this, he liked Medieval Times.
但尽管如此，他还是喜欢中世纪。
In the car on the way home, he said that it was Medieval in spirit, anyway.
在回家的车上，他说无论如何，这都是中世纪的精神。
It was spectacle, it was circus, it was populace, it was lowbrow in the best possible sense.
这是奇观，这是马戏团，这是大众，从最好的意义上来说，这是低俗的。
There were hundreds of things in there I could have said were inaccurate, inauthentic, in terms of costume, design, action.
我可以说里面有数百个东西在服装、设计、动作方面都是不准确、不真实的。
But I think that's the wrong way to think about it.
但我认为这种思考方式是错误的。
If that was an accurate representation of a Medieval tournament, people would be bored stiff.
如果这是中世纪锦标赛的准确再现，人们会感到无聊。
They wouldn't go to it.
他们不会去的。
They wouldn't get anybody to it, because they lasted for six days.
他们不会让任何人参与，因为他们持续了六天。
And they were like conventions of aristocrats.
它们就像贵族的惯例。
It wasn't the kind of experience that is going to be entertaining to people.
这不是一种会给人们带来娱乐的体验。
So if they were being truly authentic, it would be very boring for us.
所以如果它们真的是真实的，那对我们来说会很无聊。
When we driving out to Medieval Times earlier, Michael had said that the thing that appealed to him most about the Middle Ages was this other-ness, the fact that it did not seem like our world at all.
当我们早些时候开车去中世纪时报时，迈克尔说过，中世纪最吸引他的地方就是这种差异性，事实上它看起来根本不像我们的世界。
And in the car home, I suggested to him that Medieval Times did not create that feeling at all.
在车之家，我向他暗示《中世纪时代》根本没有创造出那种感觉。
It was mostly familiar images from movies and storybooks.
这些大多是电影和故事书中熟悉的图像。
But he disagreed.
但他不同意。
It was weird enough in all the mixtures of strange things in it.
里面混杂着各种奇怪的东西，这已经够奇怪的了。
I mean, the odd mixture of the modern building and the castle's structure and the long-haired hunky knights that looked like centerfolds from Playgirl with the ways that the things were mixed together.
我的意思是，现代建筑和城堡的结构以及长发健壮的骑士的奇怪混合，看起来就像《花花公子》中的插页，这些东西混合在一起的方式。
To me, in a strange way, it was Medieval.
对我来说，以一种奇怪的方式，这是中世纪。
Because obviously, the Middle Ages is incredibly hybrid and confused.
因为显然，中世纪是令人难以置信的混合和混乱。
And again, that's what attracts me about it.
再说一次，这就是它吸引我的地方。
It's certainly not the age of order and systematic piety that everyone thinks.
这当然不是大家想象中的秩序和系统虔诚的时代。
But the strangeness that you're describing is not the strangeness of the Middle Ages.
但你所描述的奇怪并不是中世纪的奇怪。
It's the strangeness of America.
这就是美国的奇怪之处。
Exactly.
确切地。
Ira Glass Exactly, Michael said.
艾拉·格拉斯 没错，迈克尔说。
In fact, as far as he's concerned, America is a very Medieval country, far more Medieval than Western Europe.
事实上，在他看来，美国是一个非常中世纪的国家，比西欧更中世纪。
In the Middle Ages, it was a pioneer culture.
在中世纪，它是一种先锋文化。
They were just beginning to create things.
他们才刚刚开始创造东西。
There was a sense of newness moving forward, evangelical, full of weird and wonderful mixtures, ultra-religious, and yet at the same time, ultra-decadent.
有一种新的前进感，福音派，充满奇怪和美妙的混合，极端宗教，但同时，极端颓废。
I think that's one of the reasons why we're so fascinated in America with the Middle Ages.
我认为这就是我们对中世纪的美国如此着迷的原因之一。
Because we're living it.
因为我们正在生活。
In the commemorative photo they took of us at Medieval Times, the distinguished scholar from the University of Chicago is grinning happily, a paper crown on his head.
在《中世纪时报》给我们拍的纪念照中，这位芝加哥大学的杰出学者头戴纸王冠，笑容满面。
The little mock frame they put the photo inside says in typeface at the bottom, "Your Knight to Remember." That's knight, K-N-I-G-H-T.
他们把照片放在里面的小模拟框架底部用字体写着“你要记住的骑士”。那是骑士，K-N-I-G-H-T。
Act Four, simulated worlds on the radio.
第四幕，广播中的模拟世界。
I worked for National Public Radio's network headquarters in Washington starting when I was 19 years old, a long time ago.
我从 19 岁起就在位于华盛顿的国家公共广播电台网络总部工作，那是很久以前的事了。
And I would like to talk for a minute about how reality is simulated, is constructed on programs like Morning Edition and All Things Considered , programs I love, programs I worked on.
我想花一分钟谈谈现实是如何模拟的，是如何在晨间版和所有事情考虑的程序上构建的，我喜欢的程序，我参与的程序。
Consider Morning Edition .
考虑一下早间版。
Bob Edwards, the host of the show, says hello and he mentions a few stories coming up today.
节目主持人鲍勃·爱德华兹（Bob Edwards）向我们打招呼，并提到了今天即将发生的一些故事。
And then he says, "First, this news from Carl Kasell." Why does he do that?
然后他说：“首先，这是卡尔·卡塞尔的消息。”他为什么要这么做？
Well, presumably, Carl is closer to reality.
嗯，想必卡尔更接近现实。
He's closer to the truth, he's closer to the thing being simulated in this simulated world on the radio.
他更接近真相，他更接近广播中这个模拟世界中模拟的事物。
And then Carl starts in with the first story.
然后卡尔开始讲第一个故事。
Carl says, today in Russia, somebody did whatever.
卡尔说，今天在俄罗斯，有人为所欲为。
And then he hands off to a reporter.
然后他把事情交给记者。
And again, why does he hand off to the reporter?
再说一次，他为什么要交给记者？
Well, presumably, the reporter is closer to reality, to the truth, to the thing being simulated in this simulated world.
嗯，想必记者更接近现实，更接近真相，更接近这个模拟世界中模拟的事物。
And then the reporter comes on.
然后记者就上场了。
And the reporter says, OK, today the Russian president said whatever.
记者说，好吧，今天俄罗斯总统说什么了。
And then the reporter goes on, at some point during their story, to some piece of tape that they're going to play us.
然后记者在报道过程中的某个时刻继续播放他们要给我们播放的一段磁带。
And that piece of tape is maybe 12 seconds, maybe 14 seconds, 17 seconds long.
那段磁带可能有 12 秒、可能 14 秒、17 秒长。
And it's like one long sentence, or maybe two sentences of somebody, some Russian, saying something about something, right?
这就像一个长句子，或者可能是某人（某个俄罗斯人）谈论某事的两句话，对吧？
And at that point, we're there.
到那时，我们就到了。
We've gone as far as we can go.
我们已经走到了能走的最远的地方。
We are actually at the real.
我们实际上是在真实的情况下。
We're hearing a tape recording made out in the world.
我们听到的是世界上录制的录音带。
This is the real.
这才是真实的。
We have arrived.
我们到了。
And it's interesting that the word for that piece of tape in radio journalism is the "actuality." Like, it's this precious piece of the actual world on the radio.
有趣的是，广播新闻中描述那段磁带的词是“现实”。就像，这是广播中现实世界的珍贵片段。
Like you have this whole apparatus, and then finally you get to what's real.
就像你拥有了整个装置一样，最后你就得到了真实的东西。
And what's funny about it is how puny it usually is.
有趣的是它通常是多么微不足道。
Like a sentence or two, you know?
就像一两句话，你知道吗？
That's how much reality you get.
这就是你得到的现实。
That's how much actuality you get.
这就是你得到的现实。
Well, our program was produced today by Nancy Updike and myself, with Alix Spiegel and Peter Clowney.
嗯，我们今天的节目是由南希·厄普代克和我本人以及阿利克斯·斯皮格尔和彼得·克劳尼制作的。
Contributing editors Paul Tough, Jack Hitt, Margy Rochlin and Consigliere Sarah Vowell.
特约编辑 Paul Tough、Jack Hitt、Margy Rochlin 和 Consigliere Sarah Vowell。
Music help today from Stuart Rosenberg.
今天来自斯图尔特·罗森伯格的音乐帮助。
[ACKNOWLEDGEMENTS] In the years since we first broadcast today's program, Michael Camille, who was that wonderful Medieval scholar from the University of Chicago, who you heard in that last story, a guy, I have to say, who shocked us all by loving Medieval Times instead of looking down on it, Michael passed away at the age of 44, very, very young.
[鸣谢] 自从我们第一次播出今天的节目以来，迈克尔·卡米尔（Michael Camille）是一位来自芝加哥大学的出色的中世纪学者，你在上一个故事中听到过他，我不得不说，他对中世纪时代的热爱而不是轻视它，让我们所有人震惊，迈克尔在 44 岁时去世了，非常非常年轻。
You can read more about him if you want, at our website.
如果您愿意，您可以在我们的网站上了解有关他的更多信息。
The web address is www.thisamericanlife.org.
网址是 www.thisamericanlife.org。
At the website, you can also listen to our programs for free, or, you know, you can download audio of our program at audible.com/thisamericanlife, where they have public radio programs, bestselling books, even The New York Times , all at audible.com.
在该网站上，您还可以免费收听我们的节目，或者，您知道，您可以在 audible.com/thisamericanlife 下载我们节目的音频，那里有公共广播节目、畅销书，甚至《纽约时报》，所有这些都在 audible.com 上。
This American Life is distributed by Public Radio International.
《美国生活》由国际公共广播电台发行。
[FUNDING CREDITS] WBEZ management oversight for our show by Torey Malatia, who reminds you--
[资金来源] Torey Malatia 对我们节目的 WBEZ 管理监督，他提醒您——
Our species one day will become extinct.
我们的物种有一天将会灭绝。
I'm Ira Glass.
我是艾拉·格拉斯。
Back next week with more stories of This American Life.
下周我们将带来更多《美国生活》的故事。
This American Life is produced in collaboration with WBEZ Chicago and delivered to stations by PRX The Public Radio Exchange.
《This American Life》与 WBEZ Chicago 合作制作，并由 PRX 公共广播电台传送到各电台。